Composed by Johann Sebastian Bach in 1727 for the Lutheran office of Holy Week, the Matthäus-Passion (St. Matthew Passion), BWV 244, fell into oblivion after the composer's death. A little over a century later, Felix Mendelssohn resurrected it and performed it in concert in Berlin on March 11, 1829, returning to humanity that immense Bachian masterpiece that is today considered a musical icon of religious confession. The Matthäus-Passion is striking both for its colossal architecture (which includes soloists, a double choir and a double orchestra) and for the expressive power of the musical language.

The text, prepared by Picander (pseudonym of the poet Christian Friedrich Henrici), includes a large group of characters. In addition to the main roles of Jesus, the Evangelist (who is entrusted with the task of narration), Peter, Pilate, and the handmaid, there are other figures such as Judas, Pilate's wife, Joseph of Arimathea, the daughter of Zion, handmaids, witnesses, soldiers, a multiplicity of voices made possible by the use of the double choir. The backbone of the work, divided into two large parts, are the chorales that Bach uses according to precise expressive needs.

Arias and ariosos, moments of meditation and contrition, act as a counterpoint to the tormented narration of the recitatives, where the human component of the drama of Christ's passion, portrayed in all his pain as a man, is accentuated.

Maggio Musicale Fiorentino staging
More characters TBD (updated: January 14, 2025)

Poster © Gianluigi Toccafondo